Part 2- Josué Joseph- On Family, Freedom and Inspiration
(Click here to read La Época Interview Part 1- Josué Joseph- On Faith, Music and Talent)
In Part 1 of this interview, you talked about growing up with the influence of your father- the great bassist Alfonso Panamá. You mentioned how he was always practising and surrounding you with music, making it just a part of your everyday life. But did you ever go through that stage of NOT wanting to be a musician BECAUSE your father was one? Often, kids try to purposely get away from doing what their parents did. Did you ever go through that or was it always just something that you wanted to do?
I feel like I’m in that movie Slumdog Millionaire, because every answer that I give you comes from a story (laughs). So here’s another one:
When I was growing up, my parents did not force any of us to study music. But when I was four years old, we moved to a new house. And in this new house, there was a piano already there. So music just came to us. Taking piano lessons was just normal. My brother did it, my other brother did it, and it passed down to me. It became something that I thought was just something you do.
No hay que llorar; el tiempo pasará, tú verás.
(There’s no reason to cry; the time will pass, you’ll see.)
Podrás abrasarme de nuevo, tú veras.
(You’ll be able to hug me again, you’ll see.)
Que no hay que llorar! Que conmigo estarás de nuevo!
(That there’s no reason to cry! That you’ll be with me, again!)
Que podrás adorarme de nuevo! Yo se que no me olvidarás!
(That you’ll be able to adore me, again! I know that you won’t forget me!)
Each of these lines is written in aqua blue across my bathroom, hallway and closet mirrors. The words are the lyrics to the song Verás, which I was introduced to in a live performance at the 1st Vancouver Mini Congress this fall. I don’t remember ever making it to the early parts of any dance congresses before. I usually like to save my energy for hanging out with friends and then social dancing later. Yet, something that weekend compelled me to skip out on a good friend’s pre-party and show up early for a film being shown at the congress instead.
Over a year ago, I had participated in a master class blues workshop in which each of us were critiqued individually about our dancing by both the instructors and the other participants. We were then given tips on what improvements we could make and then were to dance in front of the audience again, this time keeping in mind these suggestions in order to see and feel how they could transform our dancing.
I learned so much from that workshop, but unexpectedly, one of the most memorable components of it was a dance by two student participants I had never met before- Patrick and Linda. They didn’t do anything particularly fancy or flashy in their dance, but their connection to each other and the music was so sweet and heartfelt. Continue reading
The questions and responses in this interview actually came out of a larger interview I did with Ismael a few years back, just after I met him. I decided to take some parts of the original and post it to this new website because I love how even after five or six years, I can read Ismael’s words and still be inspired by them. (And his jokes can still make me laugh!) More than that, it’s great that I can say, without a doubt, that Ismael Otero is still as real and open and friendly as he was back then, if not more so now. And it’s because of this authenticity and humbleness, because he doesn’t allow the dancing to go to his head, only perhaps to his heart and his soul, that his talent is that much more commendable. And for me, this makes watching him dance that much more enjoyable, because you can see and feel it’s coming from a good place.